Skip to content

Design Blog

We use this blog to share information about our work for the benefit of customers. You can use our archive below to browse previous blogs.

We launched a pop-up art installation with contemporary artist and filmmaker Shezad Dawood with works woven by Brintons at Clerkenwell Design Week. Exhibited in a loading bay venue, alongside visual motifs and themes drawn from Dawood’s portfolio, the carpets feature bold colours and subtle photographic representations. 

The layering of imagery within the designs utilises the full range of our 32-colour High Definition Weave technology, our signature innovation that allows for a wide spectrum of design possibilities and dynamic patterns.

Avebury Rock by Shezad Darwood (2017), woven by Brintons

Joe Versus the Volcano by Shezad Darwood (2017), woven by Brintons

Multiple White-Out Palms by Shezad Darwood (2017), woven by Brintons

The exhibition space and nearby pop-up showroom consisted of four Brintons carpet-lined transformed sheds.

Brintons carpet-lined sheds at Clerkenwell Design Week 2017

Brintons x Shezad Dawood Brintons | From canvas to carpet | Clerkenwell Design Week 2017

Brintons will be at the centre of the creative hub during Clerkenwell Design Week where we are collaborating with contemporary artist and filmmaker Shezad Dawood for a pop-up art installation at General Project’s new creative workplace venue, Technique 132 -140 Goswell Road. A loading bay on the Pear Street side of Technique will be transformed into an immersive art installation, made using Brinton’s High Definition Weave technology.

The installation space will also be used for a series of talks and events throughout the week and as a meeting space for Brintons design team and clients.

We can now reveal our exciting schedule for the week, which is not one to be missed, we are inviting design savvy visitors to visit us at our pop-up art installation on the 23rd to 25th May.

Be sure to add the below dates to your diary to avoid missing out on what is set to be the place to be seen at this weeks Clerkenwell Design Week.

Dates for the diary:

Keeping creativity in the city

Tuesday 23 May 2017

6 – 7pm

This debate will explore the critical issue of how developers, architects and activists must join forces to preserve and develop London’s creative workspaces, and endeavour to find commercially viable, sustainable solutions to the increasing affordability challenges facing the city’s designers, makers and artists, if the capital is to retain its creative capital. On the panel will be Jacob Loftus, CEO of General Projects, Candida Gertler, co-founder of Outset contemporary arts fund, Andrew Harris, co-director of Bartlett Urban Lab and Matt Yeoman, director of BuckleyYeomanGray Architects. The talk will be chaired by James McLachlan editor of Icon Magazine.

• Jacob Loftus, CEO General Projects

• Candida Gertler, Co-founder OUTSET Contemporary Arts Fund

• Andrew Harris, Co-director of The Bartlett Urban Lab

• Matt Yeoman, Director BuckleyYeomanGray Architects

Chair: James McLachlan, Editor of Icon Magazine

From canvas to carpet

Wednesday 24 May 2017

8.30 – 10am

This talk will explore the creative and technical process of transforming and translating complex designs into Carpet. Emma Cassidy, Head of Creative Design at Brintons will be in discussion with contemporary artist and film maker Shezad Dawood, to discuss Dawood’s recent collaboration with the heritage English brand. For the installation Dawood has created a triptych from the fabrics and then printed and rendered visual motifs and themes from his own archive of work, across film, painting and sculpture. The discussion will be chaired by freelance writer Suzanne Trocmé and take place in the loading bay of Technique 132-140 Goswell Road.

• Shezad Dawood, Contemporary artist and film maker

• Emma Cassidy, Head of Creative Design Brintons

Chair: British designer, curator and author Suzanne Trocmé

The fall and rise of Clerkenwell

Thursday 25 May 2017

6pm - 7pm

Chaired by Architecture critic, writer and broadcaster, Tom Dyckhoff, this debate uncovers the essential ingredients for a creative community, by charting the transformation of this quintessential case study from declined industrial quarter in the 1980s to today's cultural powerhouse. We bring together key figures from this journey to uncover the conditions necessary to create a successful post-industrial neighbourhood, mirroring the UK's own reinvention from manufacturing to service economy.

• Piers Gough, Director CZWG Architects

• Sarah Gaventa, Cultural regeneration consultant and commentator

Chair: Tom Dyckhoff, Architecture critic, writer and broadcaster

Brintons pop-up art installation                                                                                                                                                               132 -140 Goswell Road                                                                                                                                                                                      EC1V 7DY

Book your place

 Image top: Avebury Textile, 2017, Courtesy of the artist and Timothy Taylor, London

Image right: Shezad Dawood

Now in its eighth year, Birmingham City University's Trends project plays a pivotal role in showcasing future trends to the industry. The Trends Exhibition was held 22-25 January 2017 at the January Furniture Show, NEC, Birmingham.

The project is a collaborative partnership with Color Hive who are experts in providing accurate colour, trends and materials forecast information for the design industry.

This year’s project involved tasking third year Birmingham City University BA (Hons) Textile Design students with contributing to two trends that Color Hive identified for Autumn/Winter 2017. The two trends selected for the students included ‘Grace’ and ‘Punk’,  two very contrasting themes.

Grace Trend

Grace has a colour palette that includes soft shades of green and ochre with rose and cashmere cream. Using moody back drops of dark colours that include laurel green, navy and peat brown, it allows for light and mid tones to combine to create a rugged natural world look.

The references include serene landscapes of Scottish heather on misty mountains that present some interesting design challenges to create unique designs. It becomes a very real journey of exploration, which causes individuals to questions their own thoughts and interpretations of grace and match it with the serene and luxurious roots that has formed Grace into a trend.

Punk Trend

Punk by contrast presents a real opportunity to explore the anarchic and exuberant spirit of punk. It allows for exploration of personal freedom that is boldly inclusive but rejects the common clichés. Punk allows for inclusive inspiration taken from challenging social views through design in new technologies such as the internet, exploring overt embellishment in areas such as jewellery along with tribal references and the development of rich gaming landscapes. It provides a rich, diverse field of colour while avoiding and challenging clichés making it rich for exploration.

The Punk colour scheme is usually dominated by rich and sensual dark tones using pinks and yellows to provide balance, all grounded in pale shade blush white. It is a broad opportunity to create something uniquely personal, reflective, and challenging.

The aim of the project is to really question the existing design interpretations and allow for creative and personal responses from the students to push the boundaries of design. Selected design concepts from the students work and design proposals were realised, actualised, and made into products for display. This was achieved through BCU liaising with several manufacturing firms including Brintons, Tektura  MRF furniture manufacturers to create the trend forward products and proposals.

The entire project allows for industry experience and to help take students on their own personal journeys with design by encouraging multi-discipline work practices and experimentation in textile design right through to the process of manufacturing and displaying forward thinking designs. 

Carpet Design Award 

BCU BA (Hons) Textile Design students and rising stars Ella Downes and Helen Johnston, saw their design work made in to reality by Brintons, using our revolutionary 32 colour ‘High Definition Weave’ technology to construct a carpet design based upon each trend, Grace and Punk. Ella Downes was awarded the Carpet Design Award at the show by Brintons, Commercial Marketing Manager, Sarah Draper. A lot of thought was put in to the design and it was a very good interpretation of the Grace trend brief. Our design team particularly loved the texture in the design. 

During the 2016 Trends project, Brintons helped students with the manufacturing process and the collaborative work resulted in students’ work being displayed at Brintons London showroom during Clerkenwell Design Week.

 Third image: BCU Student Helen Johnston with the Punk Trend display

Image above : l to r Sarah Draper, Brintons Commercial Marketing Manager with Ella Downes, BCU Student with the Grace Trend display

Image below: Students pictured with their awards and industry representatives from Brintons, Sarah Draper,  ColourHive, Hannah Malein and Tektura, Julie Mason and Jo Cain

Interior design duo Jordan Cluroe and Russell Whitehead, the 2 Lovely Gays, commissioned Brintons to create a period inspired carpet for the bedroom, stairs and corridors in their Victorian South London home.

Searching through the Brintons vast carpet archive, which dates back to 1790, the designers worked with Brintons archivist Yvonne Smith to select a design that fitted the Victorian era of the house. Jordan and Russell have always been fans of decorative and patterned carpet and Brintons, with one of the world's largest commercial design and historical pattern libraries in the industry, was their natural starting point.

The carpet chosen was a Victorian floral design from the Brintons archive, recoloured to fit their contemporary colour scheme and manufactured using the High Definition Weave looms that can weave up to 32 colours at any one time. 

Brintons owns one of the world's largest commercial design archives and historical pattern libraries in the industry, restored and preserved by our own dedicated archivist Yvonne Smith. The archive is a unique reference tool and point of true inspiration to our design team and clients.

The Brintons archive includes many hand-painted designs, artworks and sketches from 1790 to the present day, some from noted designers, which have historical as well as inspirational application. The archive library is a facility unique to Brintons and is an invaluable resource to designers, conservators, decorators and contractors worldwide. Take a look at our video on the project:

Brintons | 2 LOVELY GAYS

Image top: Left to right, Jay Ralley-Jones, Senior Designer - Brintons, Yvonne Smith, Archivist - Brintons, Russell Whitehead and Jordan Cluroe.

Image bottom right: © Francesco Guidicini

Design and Manufacturing in the Midlands | November  7 – January  14

Midlands Modern is a showcase of products manufactured by Midlands based companies working with significant designers during the period from 1930 to 1980, highlighting innovative and modernist design. The show celebrates this mid-century period – a period during which the Midlands maintained its reputation as ‘the workshop of the world’.

The showcase contains work from a number of different disciplines, such as lighting, glass, ceramics and furniture, highlighting and showcasing the breadth and depth of manufacturing in the Midlands. 

Featuring in the exhibition is the work of Lady Margaret Casson: an architect, designer and photographer. Margaret Casson had remarkable talent, she studied at the Bartlett School of Architecture University College, London during the 1930s and was one of the few women on the architectural design course at the time. Casson went on to have an accomplished career as an architect and in a number of other design related fields. 

Tibor Reich, one of the 20th century’s most celebrated textile designers – who notably livened up post-war Britain with his taste in bright and vividly coloured textiles will feature in the exhibition. Reich fled from war-torn Hungary in 1937 to study textiles at Leeds University. After the completion of his studies he bought a 19th Century cotton mill in Stratford–upon–Avon and established Tibor Ltd. It is more famously known as the Clifford Mill, and it is where Tibor established his career in producing and designing woven and printed textiles, ceramics, tiles and rugs. 

The Robin Day range of contract carpets 1961 - 62

Robin Day designs from the Brintons Woodward Grosvenor archive have been loaned for the exhibition. 

Robin Day’s range of contract carpets for Woodward Grosvenor was launched in the early 1960s - specifically aimed at the architect/specifier market. The collection was designed to be produced in several colourways reflecting current trends and the surface pattern design was based on a gridded matrix of abstract images. The carpets were produced using the Wilton weave process, a manufacturing method particularly suitable to resisting the heavy use expected of carpets specified for use in the public domain. Brintons Archivist, Yvonne Smith worked with the Parkside Gallery Manager, John Hall to identify key pieces from the archive for the exhibition.

Robin Day made his name in the early 1950 producing innovative designs for Hille Furniture  utilising the new ‘wonder plastic’ – polypropylene. This design work contributing considerably to the establishing of the company’s highly successful Hille Contacts Division. His knowledge of designing for the contract design sector contributed to success in many other areas including projects with - Pye (radio, television and record-player cabinets), BOAC (aircraft interior and refreshment trays including the tableware and cutlery) and for the John Lewis Partnership (interiors and graphic identity).

Amongst a number of other disciplines on display, Midlands Modern highlights the contribution of the Midlands to modernist and contemporary design history, championing the midlands as a creative hub that is still just as relevant today.

Image top right: Midlands Modern Exhibition, Parkside Gallery, Birmingham

Images second right: Yvonne Smith, Brintons Archivist 

Images bottom right: Robin Day carpet designs loaned from Brintons Archive on display

Brintons is excited to introduce our latest axminster design collection,  Altered Gravity by Stacy Garcia, debuting  at Boutique Design New York (BDNY), booth #645!

"Original works of art are translated into expressive Axminster carpet designs using complex color and textural overlays,” states Nadia Burton, Design Director for Brintons Americas. “Wild graphic strokes and frenzied paint splats marry with translucent floral forms to create boldly scaled designs catered to the hospitality market. Altered Gravity, with pattern repeats varying from 6‘ to 48’ is presented as an extremely versatile collection and one to watch in 2017,” adds Burton.

Inspired by the maker's movement, Altered Gravity features 14 patterns pulling influence from the diverse disclipines of the art universe.

Altered Gravity is a fresh approach for the Brintons + Stacy Garcia partnership, with designs derived from Stacy's original paintings. Although the elements have been dissected and rearranged to create new works of art, the viewer can still clearly see the artist's hand in each pattern.  Learn about Stacy's process and inspiration  in this behind the scenes video. 

Behind the Scenes with Stacy Garcia

Altered Gravity will launch November 13-14 at BDNY, at the Design Gallery by Stacy Garcia at booth #645. Not registered for BDNY yet? Click here to register for free! 

In association with the Campaign for Wool and the British Fashion Council, Bicester Village will be celebrating all things woolly with a quintessentially British Boutique and hub featuring Brintons' Timorous Beasties carpet.

Visitors will experience the collection first-hand with Platinum Grain Du Bois taking centre stage in the station foyer, whilst the dramatic Ruskin Butterfly will be in the hub. 

Brintons have always worked closely with the world of fashion. In 1993 Brintons teamed up with Vivi­enne Westwood to create a dress made entirely of the Finepoint and Bell Twist carpet ranges and 10 years later, in 2003, Brin­tons launched its 'most luxurious carpets in the world campaign', working with renowned shoe designer Manolo Blahnik featuring Bell Twist.

Further collaborations with iconic design brands such as Laura Ashley and Timorous Beasties have resulted in collections with timeless elegance and outstanding beauty, all entirely exclusive to Brintons.

Design is at the heart of everything we produce and it is the key ingredient to our continued success within the carpet and design industry.

Andrew Wilcock, Group Marketing Manager, Brintons comments "As one of the largest consumers of British Wool, we have long been champions of Campaign for Wool and were delighted to have been asked by Bicester to showcase some of our favourite designs as part of their British Wool Collective. Spanning across our commercial and residential collections, the Quickweave and Timorous Beasties collections demonstrate how versatile this natural material is."

Nicholas Coleridge, Chairman, Campaign for Wool and President of Conde Nast International said "We are so delighted that Bicester Village is getting behind His Royal Highness The Prince of Wales's Campaign for Wool. The ecological of Bicester Village are well known, and it feels absolutely appropriate that they are backing the movement for wool, with all its messages of sustainability and fashionability."

Brintons will launch the Mazij collection at the Dubai Hotel Show later this month (17th -19th September 2016).

Meaning a mix or melange of things, the arabic word Mazij conjures up the beauty and romance of the Middle East’s impressive and rich heritage of art and architecture and the many intricate patterns, motifs and colours that are associated with it.

Our design team sought inspiration in this impressively rich culture, and in the natural beauty of the region’s landscape, to create a wide-ranging and exciting collection of carpet designs that complement the flourishing contemporary architecture of modern hotel and leisure projects in the region’s cities and luxury coastal destinations.

The Mazij collection is composed of five ranges and a collection of Axminster or hand tufted rugs.


The Middle East is capturing the design world’s attention today because of its ever-booming infrastructure. It has become a travel destination for design enthusiasts all around the world.

This section of the collection focuses on the design trends influenced by modern architecture and includes the works of well-known design houses all-round the globe.


When one thinks of Marrakech, images of patterned ceramic tiles, colourful pots, rugs and lamps and busy spice souks come to mind.

This was the inspiration for this segment of the collection; Brintons have blended the authenticity of the patterns from this region with a modern approach by designing with sophisticated shapes.


The Middle East is not just rich in its history and culture but it also has wonderful geographic beauty. Its mountains, deserts and rivers make it geographically distinct and have influenced the development and maintenance of cultural traditions through much of the history of the region.

Inspired by the beauty of this land, the range very subtly interprets nature into carpet patterns.


Petra, also called the Rose City due to the colour of the stone out of which it is carved. Brintons were inspired by has developed designs that reflect these natural effects in carpets.

The idea was to capture the natural effect of the sandstone, its colours and multi layered textural details.


Mosque or prayer room carpets are special and unique as they have very distinctive features. They are used not only to enhance the aesthetics of the mosque’s interior but also to provide the marking on the floor to guide worshipers.

The interiors of the mosques today are inspiration for this segment. This ranges from traditional to contemporary, from simple to intricate patterns.

We look forward to showing you the Mazij collection at this year’s Hotel Show Dubai, Hall 7, Booth 7A272

Brintons have collaborated with Birmingham City University (BCU) over the last four years to support their textile degree students with their final year projects.

The BCU textile students showcase is the culmination of three years of study from their graduating students. The work on display is very diverse and highly individual, from concept to actualisation, representing the future career aspirations and developed aesthetic of the students.

Birmingham City University invited Brintons Commercial Marketing Manager, Sarah Draper and Designer's Jodie Hatton and Jay Ralley-Jones to the School of Fashion and Textiles Graduate Show 2016. The Brintons team were asked to award a prize for Design Innovation and selected BA (Hons) Textile Design (Constructed Textiles) Kayleigh Jones work. Her project was titled 'Puff, powder, Gloss' - cosmetic tactility.

Kayleigh created a collection of seductive, evocative and inspiring material concepts, influenced by the materiality of cosmetics. 

This explorative body of sophisticated treated and woven material possibilities, aims to inspire a trend informed audience  and appeal to various, design sectors. Photography of sprinkled make-up powders ignites an inceptive and curious material enquiry into the aesthetics of powder and gloss. The collection develops through treatments of acquired and hand-woven fabrics. Layering, trapping, coating and tufting processes create materials, which evoke atmospheric qualities and have a high tactile appeal. 

Image above centre: Birmingham City University awards ceremony at Parkside Campus.

Image right: Kayleigh Jones, BA (Hons) Textile Design (Constructed Textiles) student

Brintons, showcased the future of design at Clerkenwell Design Week, unveiling our latest QuickWeave collection and hosting a wide range of talks from leading interiors experts.

Across the three days, we invited design savvy visitors to join us at our London Design Centre for a range of drop-in sessions, including talks from design experts from Birmingham City University, Houzz and interior designers the 2 Lovely Gays. 

Throughout the week, Brintons London Design Centre was full capacity with guests attending a range of exclusive drop in sessions and talks as well as a unique view of Brintons historic archive. On the opening day of the festival, We launched our unique QuickWeave range, ideal for installations where timing is of the essence as it is a range of pre-designed carpets designs, which can be sent directly to the loom, reducing the time associated with custom weaves. 

The Trends project talk, hosted on the first day of the festival by Birmingham City University and Colour Hive, explored the importance of trends, delving into why and how trends are used, and the upcoming 2016/2017 trends that audiences should look out for.  

On the second day, Interior designers the 2 Lovely Gays, who found their fame on BBC’s The Great Interior Design Challenge, held a range of one-to-one sessions to help members of the public with any interior design queries ranging from how to customise a room to what colours work well together.

Leading online home renovation and design platform, Houzz, hosted one-to-one drop in profile consultations with their representatives on the final day of the festival alongside a ‘Trends and Tips’ talk. Aimed at design business owners, Houzz offered top tips to businesses to help ensure they are maximising their exposure to homeowners who plan projects through the online platform. 

Throughout the week, Brintons showcased the latest trends and styles, offering bespoke interior design advice from a range of leading industry experts.

Birmingham City University Trends Talk

Oren Sherman has created exclusive artwork for a variety of clients including Steuben Glass, U.S. Postal Service, VISA, Hermés, Disney, Pepsi Co, and many more. Oren’s style is crisp, confident and sophisticated. Alluring color and dynamic compositions draw us in, while the powerfully nostalgic scenes reference our collective American past. Oren’s interest in storytelling and design history has provided over three decades of widely diverse success. It’s no wonder the newest creation, BLOKWERK, circles back to the roots of his identity as a designer-storyteller.

The De Stijl movement was critical to the development of graphic design and for a century inspired artists and architects across the globe. We sat down with Oren Sherman to learn about what his story brings to Axminster, his interest in the De Stijl movement, and the birth of our latest collaboration, BLOKWERK. 

Q: Give us a little background: childhood experiences, family ties, early design memories? 

A: I was born in Boston in1956, which ironically makes me mid-century modern. My mom was a landscape designer and artist, she’s 93 and very definite in her tastes, we’re still disagreeing. It’s my earliest memory, drawing and making patterns in color was my first language. We were visiting museums before I could walk. As a child I remember visiting the Gropius house, Corbusier’s Carpenter Center and the best modern architecture that was the new style in Cambridge at that time. Utopian and very glamorous! 

Q: You’re an alumnus and professor at one of the most prestigious design schools in the United States. Tell us about your experiences being submerged in the thriving creative environment of the Rhode Island School of Design.

A: It was my dream to go there from junior high, when I was accepted I withdrew my applications to other schools, and never told my parents. I returned to teach part-time 15 years after I graduated. Being around the best of the best, of all different disciplines is a continual education. The students and faculty, the RISD Museum, The Fleet library, are a constantly inspiring and humbling experience.

Q: The majority of your work, both the Oren Sherman Limited Edition posters and your commercial commissions have been based in storytelling. There’s been a drastic jump in style from your narrative based illustrations to the cool abstractions of your textile designs. What happened between then and now? Is it the medium or the consumer that changes your design decisions?

A: No one has ever asked me this. I became interested in historical pattern as a student, RISD was originally a textiles college and they have an amazing rare book collection. My name is still on the cards from when the books circulated. The design archive at Brintons has many of the same books, when I visited there it was like seeing my old friends. I was not a textile major; I came to a fascination with pattern from color exploration. There is something so satisfying about systems of organization. I tend to see pattern not as flat repeats but as 3-D space.

Q: With your past work being strongly influenced by various historical narratives, has it been difficult moving away from naturalism into the abstract realm of pattern? Or are your patterns just more elusive stories?

A: Pattern is all about story; it’s just a different deliverable. The arrangement of shapes and colors on the page is to create the illusion of 3-D space. My work in pattern is very similar; it’s just a leap off narrative into design. The first artwork I designed that was not dependent on narrative as a subject was a shock to everyone but me.

Q: What do you find most challenging about the creating for the hospitality industry?

A: As a designer, the first question I ask myself is “what problem is this solving?” I have been working in hospitality for some time; designing wall covering, bedding, and carpet collections so I understand the needs of this world. Along with RISD, I work at the amazing Elkus Manfredi Architects in Boston. I am surrounded by the best designers I have ever worked with. Being there has been hugely helpful in my understanding of how my work integrates into the overall design scheme, and solves needs of the client. Corridors are a challenging design problem; how do we engage a guest to travel down an endless corridor with only a 12’ repeat? That was the ah- ha moment! The transformation from an overlooked space, generally with no natural light, to a dynamic and engaging experience. The next revelation was seeing that patterns could implement as full bleeds that could be cropped and pieced at any juncture. That was the engineering miracle; no waste.

Q: What goes on in the day-to-day throws of the working designer?

A: Fast deadlines, problem solving that requires teamwork. Combining intellectual skills and design sensibility to make innovative work that integrates with and elevates the client’s brand.

Q: Your designs for BLOKWERK are obviously steeped in the philosophies of the De Stijl movement, which has developed the basis for the graphic design movement as well as greatly influenced mid century architects around the world. What is your personal connection with the De Stijl movement? How does that influence your design decisions today?

A: It was the system of organization that moved from textiles, to painting, to furniture, fashion and architecture. I love “movements” that sweep the design world, a historically rare series of events that has everything to do with sociology, politics, production innovations and original thought.

Q: How did your design process for BLOKWERK begin? Develop? End?

A: It was on a visit to Berlin, Hansavietel, a landmarked mid-century neighborhood that has architecture from the best international architects in of the day. It was one of my most inspiring design adventures. Color blocked exteriors, fantastic!

Q: From birth, how has BLOKWERK changed through the creative process of collaboration?

A: I could envision it, see how it would work. I knew Brintons’ Axminister to be the most beautiful woven carpet. It was all there but corridors have very specific engineering challenges. Brintons and I worked together for over a year, I am sure I drove them crazy. I’m not a carpet designer; I simply wanted to transform the floors into woven art.

Q: Do you have a design mantra?

A: “Come from forever and you will go everywhere.” - Arthur Rimbaud

Brintons, presented its RIBA accredited CPD at this year’s prestigious Surfaces Design Show.

The three-day show at London’s Business Design Centre, featured over 150 exhibitors showcasing the best in exterior and interior surface design giving visiting architects, designers and specifiers the chance to discover the latest trends for 2016/17

The British Contract Furnishing Association (BCFA) sponsored the CPD Hub at this years show, with 4 of their members including Brintons providing seminars, covering a huge range of topics.

Ian Barton, Brintons UK Regional Business Manager presented Brintons RIBA accredited CPD. The presentation explored the key aspects of designing for Axminster carpet production, featuring everything from the initial brief through the design process to installation. The talk also covered the history of Axminster, changes in technology and followed the full process involved in design and project management within woven Axminster carpet production.

What are clippings?

Clippings allow you to collect any images you're interested in, for later review or enquiry. To add an item to your clippings, simply select the paper clip icon above the image. Items already added to your clippings are indicated by a green tick icon above the image. You can return to, or delete, any clipping from the Your Clippings page by selecting View/Manage.